Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mauritius and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Kenny Larkin to the punk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Barbara Tucker. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Traffic Nightmare,
Arcadia,
Supertramp,
Motorama,
Flipper,
Gian Franco Pienzio,
DeepChord presents Echospace,
Tommy Roe,
The Misunderstood,
Cybotron,
Popol Vuh,
The Neon Judgement,
Monks,
Cameo,
Kool G Rap & DJ Polo,
James Chance & The Contortions,
Archie Shepp,
Moebius,
The Doors,
the Slits,
Strawberry Alarm Clock,
The Motions,
James White and The Blacks,
Marc Almond,
Neil Young,
The Jesus and Mary Chain,
Ludus,
Brass Construction,
The Wake,
The Red Krayola,
Procol Harum,
The Moleskins,
The Zeros,
Tomorrow,
Kevin Saunderson,
Ornette Coleman,
Bang On A Can,
Funky Four + One,
Blake Baxter,
Toni Rubio,
Con Funk Shun,
Pole,
X-102,
Rites of Spring,
Skriet,
The Kinks,
Jerry Gold Smith,
Man Parrish,
Arthur Verocai,
Audionom,
Orchestral Manoeuvres in the Dark,
Symarip,
Captain Beefheart & His Magic Band,
One Last Wish,
Lower 48,
Q65,
Radiopuhelimet,
Jesper Dahlback,
The Real Kids,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.